Hvve> 






LIBRARY OF CONGRESS 



027 249 621 3 



Hollinger Corp. 
pH8.5 



^ 



PN 4145 
.B3 
Copy 2 




Glass _?-H.A-.\^!. 

Book_ >^)^ 

CrO*>M % 



ELEMENTARY ANALYSIS 



OF 



S.02VIE YRLNClTAli THEXO.ALEXA 



ORAL LANGUAGE, 



AS CONTRADISTINGUISHED FROM GRAPHIC COMPOSITION; 



WITH A VIEW TO THE IMPROVEMENT OF 



PUBLIC SPEAKING 



AND 



BY DR. JONATHAN BARBER. 



WASHINGTON CITY: 
fRINTED BT WILLIAM COOPEB, JtW. 



1824. 






r 






BE 




District of Columbia, to wit: 
IT REMEMBERED, that on the twenty-first 
day of May, in the year of our Lord one thousand 
eight hundred and twenty-four, and of the inde- 
pendence of the United States of America, the for- 
ty-eighth, Dr. Jonathan Barber, of the said Dis- 
trict, hath deposited in the office of the Clerk of 
the District Court for the District of Columbia, the title of a 
Book, the right whereof he claims as Author, in the words 
following, to wit : 

" Elementary Analysis of some Principal Phenomena of Oral 
Language, as contradistinguished from Graphic Composi- 
tion: with a view to the improvement of Public Speaking 
and Reading." 

In conformity to the act of Congress of the United States, en- 
titled "An act for the encouragement of learning, by securing 
the copies of maps, charts, and books, to the authors and pro- 
prietors of such copies during the times therein mentioned " — 
and, also, to the act entitled "An act supplementary to an act 
entitled 'An act for the encouragement of learning, by secu- 
ring the copies of maps, charts, and books, to the authors' and 
proprietors of such copies, dining the times tberein mention- 
ed.' And extending the benefits thereof to the arts of design- 
ing, engraving, and etching historical and other prints." 

In testimony whereof, I have hereunto set my hand, and 
affixed the public seal of my office, the day and year. aforesaid. 

EDMUND J. LEE, 

Clerk of the District Court of the District of Columbia 



FEtEYACE 



►o®®®^^®®®« 



The following pages were written, principally, for the 
benefit of those who have attended, or may, hereafter, attend, 
my private classes. I have treated the subject of the ele- 
ments of speech and that of cadence with some degree of 
amplitude because the principles involved in those subjects 
arc the most important, and of most difficult application, in 
the practice of delivery. They are those moreover, which 
constitute the basis of the science; and my observations upon 
them will, I trust, be found useful beyond the circles which 
may have opportunities of receiving my oral explanations. 

I am mistaken if I have not sufficiently explained myself 
on Cadence to enable the analytical and attentive reader to ac- 
quire and perfect the habit of reading in musical time. I have 
not however pointed out in a minute manner the violations of 
Cadence. Those violations become manifest in the first read- 
ing lesson of every person uninstructed in the science; and 
each succeeding effort affords illustrations of the peculiar er- 
rors of oral delivery, and of the progressive advancement to 
correctness, as those errors are illustrated and corrected by 
the principles of the science. Had I attempted more than I 
have done, I should only have rendered myself liable to mis- 
apprehension by those who cannot consult my meaning but 
through the medium of written words. In order that this 
science should be comprehended fully, that its principles 
should be felt and practically applied, oral demonstra- 
tion in the majority of instances is indispensable. On this 
subject it is in vain to disguise the truth. The difficulty of 
conveying to the mind new, or, hitherto, unrecognised deftiii- 



Preface. 

tions, by the mere dead letter of the page alone * without the 
accompaniment of oral or sensible demonstration, must be 
sufficiently obvious to every one who is at all in the habit of 
philosophical analysis ; and though I hope that in this treatise 
the same term of art is never applied to signify two different 
ideas, nor two different terms to indicate the same identical 
phenomenon, the mind of that reader must have been little 
infected by the confused language of rhythmical criticism, who 
is not now and then in danger of confounding distinctions that 
are of the first importance to the due comprehension of the 
subject, and of seeing occasionally in my words, a very "differ- 
ent meaning from that which they are intended to convey. A 
person who has had no opportunity of disentangling himself 
from the perplexity of erroneous definitions of accent; who 
has never been practically taught to distinguish between acute 
and heavy, or heavy and strong, between loud and high, be- 
tween poise and quantity, or who has no conception of the 
word tune, as applied to speech, but as denoting an offensive 
peculiarity, must not be suprised if something more than a 
single reading; something more than the mute unresponsive 
page should occasionally be necessary for the complete illus- 
tration of a system of rhythmus, not founded on tradition, but 
upon analytical observation and practical demonstration. I 
may venture to assert, however, that no scholar, and I use 
the term in its collegiate sense, has ever listened to the de- 
monstrations of which the science is susceptible without con- 
viction : my private pupils never fail to acknowledge my dis- 
tinctions and to enter into the spirit of the system. This is 
the natural order of things, where system is founded in de- 
monstration, and susceptible of being applied to practical im- 
provement. When musical time is ascertained by the time 
beater, and ensured in actual reading; by a regular notation 
or scoring, where the quantity, not of the cadence only but of 



Preface. 

every syllable and element composing it is pointed out, when 
a violation of the music and the emphasis, is shewn to depend 
upon not giving to particular elements their due quantity, 
when it is felt that unless the liquids sustain their due prepon- 
derance of time and inflection, the cadence is sacrificed, and 
a tuneless cluttering, or tiresome drawl is th econseqm 
when these respective points, and others are illustrated, one 
by one, and pointed out by a reference to those parts of a line 
or passage, where an error occurs, the most sceptical must be 
convinced, and such are the results which have re varied the 
exertions I have made in conveying instruction ill my 
private lectures, accompanied, as they always are, by appr 
priate readings. , 

But as it regards the object of practical or imitative 
vance, and of making that imitative observance, g^ow o 
elementary analysis, I must refer to private tuition { 
the most certain and efficacious means of improvement: d- 
though it is by no means true that the diligent and the ardent 
may not, and often do not, surmount all the impediments 
which lie in the way between elementary analysis and practi- 
cal art. 

The energy to effect this must be found in the mind of the 
Individual. It must depend on that strong sense of his own 
omnipotence in vanquishing difficulties which, figuratively 
speaking, can " make the blind penetrating and give to the 
mute a tongue of fire:" and it is because an oratorical educa- 
tion in the midst of freedom is most favorable to the excite- 
ment of mental power, and to a trust in its exertions that 
such an education is peculiarly favorable to all that is extra- 
ordinary in intellectual and moral atcheivement. Hence the 
two nations, who carried social speech to its highest perfection 
have transcended in the dignity, comprehension and universal 



Preface. 

accomplishment of individual character, our own more 
informed and philosophical times. 

I have, now only to adt(l that having been obliged to pre- 
pare the following little work with haste and in the midst of 
frequent interruptions, I ain aware it must have imperfec- 
tioiis. It is perhaps too milch characterized in its composi- 
tion by those habits of oral and spontaneous illustration to 
which I am more accustomed than to the conveyance of in- 
struction in a written form. To remove these, would require 
a delay incompatible with the requisitions of those to whom, as 
having honored me by an attendance on my lectures, I am 
bound to supply this manual. As these blemishes too, relate 
more to manner than matter, I shall console myself by reflect- 
ing, that I have announced some important elementary prin- 
ciples essential to the acquisition of the first and most simple 
requisites of correct and easy speech. With regard to omis- 
sion, what this book does not contain will be far better orally, 
tlnn graphically illustrated. The wide circulation of Mr. 
"Walker's work on elocution, compared with the little practi- 
cal good it has effected, is proof that the graces of delivery 
can only be taught viva voce: and being reminded of his work 
I will conclude this preface with a sentiment it contains. " A 
first essay on an untreated subject can scarcely be exempt 
from inaccuracies : and obscurity is the natural attendant on 
novelty ; but if unquestionable advantages are the result of 
this novelty, the candid and judicious reader who understands 
the difficulty of the undertaking, will not deem what is pre- 
liminary arid imperfect, unworthy of his attention." 

J. B. 



ELEMENTS 



OF THE 



SCIENCE AND PRACTICE OF 

ELOCUTION, 

UirmiJ\U3S AXD COMPOSITION. 

ANALYSIS, AXIOMS AND DEFINITIONS. 

The Theory of Speech is an important branch 
of Natural Philosophy. A correct theory is an es- 
sential preliminary to practical improvement. It can 
result only from a consideration of the laws which 
regulate the action of the organs of speech, and that 
of the corresponding principles of harmonic percep- 
tion. Consequently, the theory of speech must have 
for its basis, the Sciences of Physiology, and Music. 

The principles of a correct and comprehensive theo- 
ry, will be applicable to all the purposes of instruction 
in the art of delivery, from the treatment of impedi- 
ments, of whatever description, to the ease and ameni- 
ty of conversational utterance, and the higher energies 
and more commanding harmonies of public oratory. 

The Objects of the Speaker are, to command at- 
tention, — to communicate ideas, — and to impart satis- 
faction by the manner of that communication. These 
respective objects, when properly attended to, have a 
reciprocal tendency to assist each other. The quali- 
ties indispensable to their joint attainment are, distinct- 
ness, harmony, and expressive variety of intonation. 

Definition. Perfect speech consists in a mode of 
utterance that combines the most audible distinctness 
of enimciative expression, with the most uninterrupted 
flow of vocal sound. 



4 

Apparatus. Two classes of Organs. 

I. VOCAL ORGANS— those portions of the or- 
ganic system employed in the production, admeasure- 
ment, and variation of voluntary, tuneable sounds. 
Common to man and to the lower animals. 

II. ENUNCIATIVE ORGANS.— those portions, 
and members of the mouth, by which we superadd to 
the tuneable impulses of sound, the phenomena of lite- 
ral and verbal utterance. Peculiar to the human spe- 
cies. 

Theory of Sounds. The sensation of sound is an 
effect of vibrations, originating in some stroke or im- 
pulse given to a vibratory substance, and communicat- 
ed from that substance, by pulses of the surrounding 
atmosphere, to the organs of hearing. 

Vocal Sounds are the ultimate effects of forcible 
impulses of air, driven through the resisting and vi- 
bratory organs of the throat. 

The Larynx is the primary organ of vocal im- 
pulse in Man. Its vibrations are the consequence of 
voluntary muscular impulsion of its fibres against the 
air, in its passage from the lungs to the mouth. By 
the action and reaction of the Glottis, which are 
subservient to volition, sounds can be measured into 
distinct proportions, so as to be subject to musical 
time, in man, and in the other vocal tribes; and in the 
former to the farther superaddition . of syllabic utter- 
ance, or speech. In the correct utterance of speech, 
that element of tune, called time, prevails equally as 
in song. In human speech, an utterance, by metrical 
cadences, is indispensable to an undisturbed respiration, 
to force and harmony of delivery. 

The voluntary action of the glottis, determines by 
the force and momentum of its pulsations, the degree 
of power or force in the original syllabic impulses of 



the human voice, and the decrees of rapidity or shw- 
ness, of continuous! implication, ot distinctness of t« 
impulses. Us inevitable alternations of action and reac- 
tion, of Pulsation and Remission, produce the marked 
varieties of heavy and light, in the successive sounds 
of human utterance: or in other words, the necessary 
recurrence, at measured intervtils, of what have been, 
erroneously, termed accented and unaccented syllables. 
The phenomena of such recurrence constituted the 
Thesis and Arsis of the Greeks, and are the primary 
constituents of Cadence and, consequently, of Rn 
mi s; whether poetic or prosaic. (See definition of 
Cadence and Rhythmus.) 

Enunciative Organs — or organs of verbal utter- 
ance. The phenomena of speech are accomplished by 
the consentaneous action of the vocal and enunciatice 
organs. Has this practical distinction of organs been 
sufficiently attended to ? Independently of the lower 
jaw (whose motions contribute, though they are not 
indispensable to, distinct utterance,) and the nostrils, 
(which form the sound assigned to ng,J the enunci- 
ative organs are five in number. Three of them are 
in pairs. Three of them are active; namely, the tongue, 
the uvula, and the lips: two are passive, namely, the 
front teeth and the gums, (particularly the upper,) into 
which those teeth are inserted, having the Elements 
formed upon them by the action of the organs. The 
description of the attributes and functions of these, re- 
spectively, includes the entire anatomy of the Ele- 
ments of verbal utterance. Descriptions of the po- 
sitions of organs, adapted to the formation of the re- 
spective Elements, are to be received with cau- 
tion, because different formations of mouth require 
corresponding differences of position. 



What is an ELEMENT ? An Element is one sim- 
ple enunciated sound, distinguishable by the ear from 
every other. One element, only, can be sounded at 
once. There are no utterable diphthongs or triphthongs. 
Bee an original, learned and very ingenious work 
entitled Cadmus, by Dr. Thornton. The first re- 
quisite of distinct and intelligible delivery, is the ac- 
curate formation of the respective Elements. The 
Elements are to speech what the simple notes of mu- 
sic are to song: therefore the precise sounding of the 
former, is as necessary to correct speech, as is that of 
the latter to correct song. 

Distinctions — Letters are graphic characters, con- 
sisting, merely of " black strokes drawn on white 
paper. 7 ' They represent two things, essentially dis- 
tinct, often very different, from each other. They re- 
present, Firstly, the names by which they are called. 
Secondly, the enunciated sounds of which they are, 
moreover, the symbols. The graphic character L is 
the letter: the conventional sound represented by ell, 
is its name: the initial sounding element, pronounced 
in the utterance of the word L — ord, is that, of which 
both the graphic character, and its name, are the re- 
presentatives. The distinction necessary to preserve, 
is that between the name, and the simple elementary 
sound. Is not a practical inattention to that distinction 
ove of the causes of the abject state of modern delivery ? 
It should appear, from what has been advanced, that 
it is only by practical attention to the precise formation 
of Elements that the expressive distinctness and ener- 
gy of spoken language can be improved. 

Lingual Elements. Class I. — formed by contact 
of the tongue with the rough part of the upper gums 
and teeth. D as in deed. T as in time, (x and J as 
in jejane and age. L as in loyal. N as in noon R 



I 



(initial or trilled) as in rural. This latter element is 
formed by a forcible continued vibration of the tongue; 
the top of which is brought, by that vibration, into re- 
iterated contact with the upper gums. Y (initial or 
consonant) is formed, by approximating the tongue to 
the upper part of the mouth, and impelling sound be- 
tween the organs brought into gentle contact. Z as 
in zone, which is sonisibilant, is formed nearly in the 
same manner; but the teeth are closed, and the sound 
which issues is made to vibrate against them in its 
passage. 

Class IT. — It is not easy to describe, accurately, the 
positions of the organs in the formation of S and C as 
in see, civil. Ch as in cherry. Sh as in shine. Zh as 
in r azure. 

Class III. — formed by protrusion of the end of the 
tongue against, or between, the edges of the front teeth, 
Th in the word thine is formed by the position de- 
scribed in the former; Th as in thatc, by that describ- 
ed in the latter part of the preceding sentence. 

Guttural Elements — formed by the contractions 
of the uvula and root of the tongue. G, K, Q, X, and 
equivalent KS, as in vex; GZ and R, (final.) Wh, 
as sounded in which, should be distinguished from 
simple W, as sounded in witch: the same distinction 
obtains in where and were, and in all other syllables 
and words commencing with either of these elements. 
The letter H represents the simple aspirate as in 
Horse: but, it represents also that sound which is ut- 
tered in immediate succession with a hard consonant, 
as in Charles: in this latter case the H partakes of the 
nature of a Guttural. 

Labial Elements — formed exclusively by the 
lips. B, P, M, and the initial W. 



8 

Labio Dentals — formed by the combined action 
of the lips and teeth. F and V. 

The position of the lips has part in the ultimate 
neatness and perfection of every enunciated sound; 
particularly the vowels. The lower jaw facilitates, 
by its motions, and the consequent modification *>f 
the cavity of the mouth, the utterance of the vowels; 
but they may all be formed perfectly, with clenched 
teeth, by proper attention to the aperture of the lips. 
The lips, it would seem, are the only enunciative or- 
gans whose functions cannot be dispensed with, or 
supplied, by any substitution, in the process of distinct 
and intelligible speech. The element ng would seem 
to he a pure nasal sound; to be formed by the nostrils 
alone, wihout any assistance from the organs of the 
month: or at least, with a very slight modification of 
its cavity, for the mere transmission of the sound winch 
is to vibrate on the parts which constitute the nostrils. 

DEFINITIONS. Vowel Elements. 

A vowel is an element formed by a specific modifi- 
cation of the cavity and aperture of the mouth, without 
contact of organs. The vowel sounds assigned to the 
English language are seven in number. These sounds 
are, sometimes, represented by single letters, and often 
by two or more letters combined; and whether single 
or combined, the same characters represent different 
vowels. But, however they be represented, every 
vowel sound in our language, except one, is subject to 
the distinction of long and short. That one vowel is 
always short. It is the second element in the French 
words jp, me, te. It is found in the first syllable of the 
word rer-dure: in that of virtue, of cupboard: it is 
heard twice in cover. It is this same short imperfect 



vowel, that we hear, though denoted bv several differ^ 
ent letters, in many of our final syllables^ and in 
others which have been denominated feeble, such as 
over, under, havoc, pilot, jealous, ■pillory, ammo er, 
pilfir, medlar. Thus this element is represented by 
the separate letters a, e, i, o, u. What an alphabeti- 
cal ambiguity! This ambiguity could only be removed 
by assigning one graphic character to this element, 
(and indeed, this remark applies substantially to every 
element,) and always employing that character when- 
ever it should be uttered. The representation of the 
element in question by a number of vowel characters, 
presents a most serious difficulty to the foreigner in the 
pronunciation of our language : a difficulty which will 
be more obvious, when it is considered, that, in addi- 
tion to these feeble syllables, which are uniformly such, 
we have many that are sometimes more distinctly pro- 
nounced according to the particular vowel sound, but 
to which, in conversation, we give this indefinite sound, 
instead of the particular one. Instances occur in the 
articles a, an, the : in the conjuctions and, or, nor, and 
others: in the prepositions of, to, from, at, for-, in the 
particles a, com, con, as in awake, above, compose, 
compare, conceal: in the word there in such phrases 
as " there is, there came:" in the possessive pronouns 
your, their. In these instances we, commonly, only 
hear the vowel alluded to, excepting where an empha- 
sis requires a mo¥e distinctive pronunciation. We al- 
so employ this vowel in the relative pronoun that, as 
distinguished from the demonstrative that; 

" Who is he with voice unblest, 

u That calls me from my bed of rest ?" 

•'That which is best administered, is best." 

B 



10 

The difference in the pronunciation of the two thata 
is the same as obtains between hat and hut. Ought not 
an appropriate graphic character to be assigned to 
each? — 'Tfiat is also, sometimes a conjunction, when 
it is sounded like the "relative, Thut. 

The six vowel elements which have each a long and 
short sound are, 

long. short. 

I. pronounced aw, heard in Saul, SoL 

II. ah, Balm, Ban. 

HI. a, Pane, Pen. 

IV. e, Teen, Tin. 

V. o, Know, Not. 

VI. oo, Pool, PuU. 

The French u is not a vowel sound of our language. 

Consonant Elements. 

A Consonant (etymojogically, a sounding together) 
is an element formed by the contact or combined action 
of two organs of the mouth. Consonants may be sub- 
divided into MUTES, LIQUIDS, SEMILIQUIDS 
and SIBILANTS. 

Physical Properties. 

A Mute is a pure stop; the contact of organs being 
so complete in its formation, as to suspend all vocal vi- 
bration. A mute, consequently, can only be sounded- 
in conjunction with another element.+' There are three 
mules in the English language, T, K and P — C and Q 
might be added; but when they are sounded like K, 
they are the same element See definition of Element. 

The precise position of organs on which the forma- 
tion of these elements depends, may be ascertained by 
preparing to sound the words Top, Pit, Kite, and 
holding the T, K, and P, between the organs, sus- 



11 

pended over the succeeding elements, for some time. 
before they are exploded upon those elements. 

Practical Remark — These elements are formed by 
voluntary contractions of the organs: therefore, whe- 
ther as initials or terminations of words and syllables, 
the distinctness and force of their utterance will de- 
pend upon the degree of contractile power employed 
in their formation, and the consequent vigor of the im- 
pulse exerted in their explosion. The distinctness, 
force, and consequent audibility of words or syllables, 
of which they consitute" the outlines, will depend on 
the precision and vigor of their formation. Remark — 
A forcible contraction does not imply any expenditure 
of physical power, incompatible with ease of delivery 
and a quiet respiration. 

The points of importance in the formation of mutes 
are, precision of position of the organs — force of con- 
traction — consequent energy r.f impulse or explosion. 
Mutes as terminatives — Pit, Tip, Pick. 

A Liquid is a tuneable element, formed by gentle 
contact of two organs of speech, in a state of vocal vi- 
bration : and it is susceptible of unlimited duration and 
flexure of tone, without change of elementary charac- 
ter. The liquids are L, M, N, NG, R, ( initial or 
trilled, J Y, W, Y, {consonant or initial. J JVfiere I 
use the terms initial and terminative, I mean, of icords 
and syllables. Sound the element L alone, as it is 
sounded in the word Lord, as the initial of that word : 
or, as sounded in the word all ; as the terminative of 
that word, (the elementary sound is alike in either case) 
and it will be found that the L will answer to the defi- 
nition of a liquid. The same is true of the other let- 
ters enumerated. The voice can rise and fall upon 
them in the musical scale, by an acute or grave accent, 
and it can make the flexure necessary to a circumflex- 



12 

(See accent.) It can also dwell upon them ad libitum, 
without changing their distinct character as expressive 
elements. 

Practical Remarks — The Student is recommended 
to sound them (and all other consonant elements, ex- 
cept the mutes, which do not admit of it) alone, and 
so frequently as to accustom the enunciative organs to 
their precise, easy, and rapid utterance. Also to sound 
them in combination with other elements, (vowel and 
consonant) with which they can be made to enter into 
combination, both as initials and terminatives. Being 
elements of tune, and being also, susceptible of unli- 
mited duration of tone, the liquids are the proper ele- 
ments of quantity in speech: in other words, they are 
those elements, especially, on which the voice may 
dwell, for a perceptible period, with an agreeable ef- 
fect, in tilling out the cadences of speech. (See cadence.) 
They are inflective slide-. (See accent.) They are the 
elements of harmony. 

" .Return to thy dicellmg nil /one/y return." 

The harmony of this line, will depend upon the as- 
signment of a due measure of quantity, and a proper 
inflection of tone to the liquids which enter into its 
composition. 

A Semtliquid is a partially tuneable element, form- 
ed by the motion of one organ upon another; or by the 
motion of two organs in contact: and it is consequently 
limited in its duration, by the limits of the line of ac- 
tion through which it can be formed. The Semili- 
quids are B, D, X, sounded as GZ, as in eggs; Th 
as in thine; 7a as in ze.no; 7A\ as in azure. 

By sounding any one of the last mentioned elements 
alone, it will be ascertained that though they have 
tune, that tune is limited in its duration and compass, 
by the line of action of the organs employed in their 



18 

formation. They, consequently, do not admit of the 
ity as liquids. As expressive ( U merits 
they possess more energy and less harmony than li- 
quids. That composition, and that enunciation, will 
be most harmonious which is articulated by means of 
liquids: those most energetic which are articulated by 
semiliquids, by other consonants, and by aspirates. 
(See articulation.) 

Example — " Return to thy dwelling, all lonely re- 
turn." 

Counter example — " And their hoof-beaten bosoms 
are trod to the plain." 

A Sibilant is an element formed by gentle contact 
of organs, and an impulse of breath, without vocal vi- 
bration. S, C sounded like S, Sh — Ch — F — as in 
the word fate; (x and J sounded like G; Th as sound- 
ed in thaw; X sounded like KS, as in vex: are all 
sibilants. They constitute the hissing sounds of our 
language; and their too frequent obtrusion both in its 
composition, and delivery, have brought it into dis- 
credit with foreigners. The S and may be often ex- 
changed for the Z in pronunciation, which latter, being 
sonisibilant, (that is, having more tune and less sibi- 
lancy,) is always the preferable element, where it can 
be substituted for the others. 

Practical Remarks on consonant elements in ge- 
neral — All the consonant elements, except the mutes, 
(contrary to the received opinion^ can be sounded 
alone. Many of them can be sounded in conjunction, 
without vowels. We may here remark, that we have 
many syllables consisting of consonants only, without 
the intervention of any sounding vowel whatever. Of 
this the word syllable itself affords an example, and 
the word example exhibits another. Syllables con- 
sisting of consonants only, are formed bv an immedi- 



14 

ate articulation of the liquids I or n, with one or other 
of the following consonants — p, b, f, v, t, d, s, z, k, g, 
as in the words apple, able, stifle, evil, title, fiddle, 
whistle, hazel, tickle, smuggle : and in happen, even, 
kitten, hoyden, brazen, spoken, and others, though the 
e and i are written, no vowel sound is heard in the ut- 
terance of the final syllables. The student is advised 
to exercise his organs of enunciation on these combi- 
nations. It will, moreover, contribute to precision and 
fa< ility of utterance, to sound all the consonant ele- 
ments alone, and in every variety of combination, (both 
vowel and consonant,) of which they are susceptible, 
as an exercise. 

From what has been advanced, it will be manifest 
that all consonant elements are susceptible of quantity, 
except the mutes and aspirate; but it is essential to a 
correct, forcible, and harmonious delivery, that we 
should ascertain the necessary, the practicable, and 
the desirable quantities of elements. 

Although the mutes are not susceptible of quantity, 
as they cannot be sounded at all alone, it will be found 
necessary to the proper filling out of cadences, (see ca- 
dence,) to prolong the stop which they occasion, by 
holding them awhile between the organs, so as to mea- 
sure in silence the time of the musical bar. 

None of the consonants, except the liquids and se- 
miUqulds, should have more quantity assigned to them 
than is necessary to distinct audibility. The remark 
made with respect to mutes, as to precision of organs, 
force of contraction, and energy of impulse, is appli- 
cable to all the other consonants. Attention to that 
remark must insure their impressive contradistinctness 
and audibility, as separate elements addressed to the 
ear: and, as elements make syllables, syllables words, 
and words sentences, the precision and energy of de~ 









15 

livery, its distinctness and force will depend on the 
accurate and forcible formation of elements. The li- 
quids are to sustain a considerable preponderant^, 
both of quantity and inflection. " Give quantity to 
your liquid in order to fill out your cadence," is a di- 
redion which it will be found necessary again and 
again to reiterate, in teaching the art of reading in 
musical time. Liquids, having a natural tendency to 
musical inflection, are the proper elements of quantity 
in speech. Towels having a natural tendency to mo- 
notone, are the proper elements of quantity in song. 
As a general rule, it may be said, the vowels are not 
to be dwelt upon: the giving too much quantity to 
voAvels will produce a drawl in the utterance, a drawl 
which is so frequently heard, but which is so offensive 
to the ear, in the elocution of the pulpit. 

The vowels are to be considered as mere facilitating 
passages from one impressive consonant element to 
another. Unless these remarks be practically attend- 
ed to, as any person may demonstrate to himself by 
reading with a drawl, and by endeavouring at the same 
time to utter forcibly, there will necessarily be a great 
expenditure of physical energy, for the production 
with regard to impressiveness of delivery, of a com- 
paratively feeble -effect. If the energy of enunciation 
be made to fall on the consonant elements, if they be 
articulated, and due quantity be given to the liquids, 
the vowels will take care of themselves; spoken lan- 
guage will be contradistmctly and fully impressed up- 
on the ear, and energy and harmony will be the cer- 
tain result. These remarks may be verified, by 
marking the respective consonants and vowels in a 
reading lesson, and sounding them subject to such re- 
marks. It will then be ascertained that the conso- 
nant sounds constitute the impressive outlines of our 



16 

spoken language; and that vigor and harmony of de- 
livery, depend upon their accurate and energetic enun- 
ciation. A forcible delivery, as depending upon mere 
muscular force exerted by the members of speech with- 
in the mouth, will not be found to involve the evil of 
physical exhaustion. That exhaustion depends upon 
other causes, to be hereafter mentioned; combined with 
such as have been already enumerated. 

It depends 1. On neglect of articulation and im- 
plication — 2. On a violation of Cadence. See 
Cadence. 

What is Articulation ? It is that function of the or- 
gans of enunciation, which is so well understood, and 
applied, by the French in the utterance of their lan- 
guage; and which is one cause of the smoothness and 
facility of their speech. Articulation, by most writers, 
has been confounded with distinctness. (See John- 
son, Sheridan, and others. J But it is, in truth, the 
act of combining and linking together of elements, 
which, by their inherent qualities, are susceptible of 
coalescence, so as to form them into intelligible sylla- 
bles and words, capable of being again combined into 
clauses, and sentences, for the adequate conveyance 
of our ideas, thoughts and determinations. 



I 



t — \r 



Allways, not A — 11 — ways. 
Chariot, not Cha — ri — ot. 



Coach, not Co — ach. 



The digamma Y is with us, as it was with the 
Greeks, one of the articulating elements: as are, also, 
many vowels. We interpose the latter in actual speech, 
very fVequenily, where they are not indicated by the 
orthography. 

f m . r J 



17 

The digamma y, will be found in the word Idea, 
pronounced, by a delicate articulation, though an ab- 
solute one, ldeya. The y will be frequently defected 
between separate words. In this latter case it consti- 
tutes an articulating element of actual speech equally — 

as in the — y — other. The word Henry, will afford 
an illustration of an articulating vowel; we write Hen- 
ry — we say (delicately marking the ej Henery. It is 
sufficient, perhaps, to have awakened attention to these 
supernumerary elements, not ascertained to the eye, 
by the orthography. As the articulating elements con- 
stitute the outlines of words and syllables, and there- 
fore give them their expressive character, Articula- 
tion is of infinite importance to the foreigner. It is 
one of the secrets of acquiring the accurate pronunci- 
ation of a new language, in its current delivery. 

Implication is the combination and vocal union of 
words, in oral utterance, which are graphically sepa- 
rated; and by which, without injury to the intelligible 
distinctness of the respective words, all differences of 
auditory impressions are removed between monosyl- 
labic and polysyllabic composition. 

Examples. 



Aman, Aship, Anapple. 

Not 
A — man, a— ship, an — apple. 



H Oh could I flow like thee, and make thy stream." 

The in the word " Oh," (for the h is not sound- 
ed,) is implicated with the c of the word "could;" 
ihe d of this latter word with the personal pronoun Z: 



18 

the J with the /of the wovd flow ; the liquid w of the 
word flow with the liquid I of the word like; the thy 
is implicated with the s of the word stream, so as to 
make the scjfund of tliice in utterance. There are, also, 
other implications (besides those between the elements 
of the same words) in the line just quoted, to which 
no allusion is made, because they are less obvious. 
Throughout the whole line, almost, there is a continu- 
ous coalescence of elements depending upon an inti- 
mate succession of changes in the organs of enunci- 
ation. By these changes the sound is not, merely, 
transferred from one elementary position to another* 
but the respective elementary sounds are blended with 
each other, by a continuity of progression. 



" My great example, as it is my theme." 
Besides other implicated parts of the last line, the li- 
I / in the word example is to be implicated with 
the a in the word as. By a delicate 'precision in the 
ac- on of the enunciative organs, the soi-nd of the I 
murmurs over the intervening pause j nd communi- 
cates to the ear that continuous harmony, of which 
this part of the line is susceptible. The full eilect of 
implication can only be cdis nicated orally, but when 
it is accomplished with due delicacy and precision, the 
line borrows from it a harmony which is peculiarly 
Boot! ing and agreeable to the ear. 

Practical Remarks — If elements be not accurately 
formed; if the enunciative organs hurry with great ra- 
pidity from one elementary position to another, the re- 
spective elementary sounds will not be allowed a suf- 
ficient time to make their due impression on the ear, 
and the speaker will either clutter or gabble. An at- 
tention to the observations which have been made will 
prevent birth these defects. If elements be not articu- 



19 

lated and implicated, the delivery will be feeble and 
inharmonious. . V will be deformed by recurring hi- 
atus, and will consequently be in staccato when it 
ought to be in legate 

A large class of impediments of speech depen\ 
principally, on want of attention to the articulation and 
implication of elements which have a natural coales- 
cence. 

The energy of delivery, as well as its smoothness, 
depends on articulation and implication. Suppose it 
be desired to give force of pronunciation to the word 
Example, in the line last quoted; to this end, the ele- 
ment E must be struck with a strong impulse : to ac- 
complish this, the exploding force of the mute t in the 
word great must be discharged upon the E : but then, 
the two elements must be implicated : if not, a hiatus, 
more or less perceptible, will intervene between them, 
ant! the E, consequently, will not be sounded with 
energy. The principle deducible from this example, 
applies to other instances ; and we may lay it down 
as a practical axiom, that energy and harmony of de- 
livery require the accurate formation and intimate ar- 
ticulation and implication of correlative elements. The 
remarks which have been made, will be found of 
special importance to foreigners, in the pronunciation 
of our language ; and by Frenchmen, from the exam- 
ple afforded by their own, these remarks cannot fail 
to be understood. An attention to them will insure 
the two most important requisites of intelligible and 
correct English speech: the utmost distinctness of 
enuneiative expression, combined with the most unin- 
terrupted flow of vocal sound. 

It may be subjoined, that, the difference between 
Articulation and Implication is merely a grammatical 
one 5 Articulation relating to the syllables of the same 



d; Implication to those of words graphically sepa- 
rated, 

Practical Rule — All elements in the same word; 
susceptible of coalescence as they succeed each other, 
are to be articulated. All words, though graphically 
separated, susceptible of coalescence, as they succeed 
each other, are to be implicated, except the sen*e be 
interrupted between such elements as are susceptible 
of implication, by caesurse or other pauses. The ex- 
ception does not apply to pauses which merely sus- 
pend the sense, as in the line last quoted. (See the 
pause between the word example and the word as.) 

Note. The student is advised to mark the initial 
and terminative elements of syllables and words in his 
reading lessons, and to read those lessons carefully, 
subject to these remarks. 

We will recapitulate by observing that perfect enun- 
ciation requires three things — Distinctness, Articula- 
tion and Implication. As distinctness depends on 
the accurate formation of elements, articulation is the 
act of so combining them with each other, as to consti- 
tute syllables and words, though it has generally been 
understood to be rather the act of separation between 
one syllable and another, than that of their immediate 
and intimate coalescence. To distinctness and articu- 
lation must be superadded implication, or the combi- 
nation in oral utterance of words which are graphical- 
ly separated. It is thus, that the distinction to the 
ear between monosyllabic and polysyllabic language is 
annihilated; for the ear, unassisted by the eye, knows 
no such thing as a distribution of speech into such se- 
veral portions as graphic composition has instituted. 
In continued utterance the processes of articulation 
and implication are, wherever elements are so collo- 
cated as to admit of them, to be effected by a delicate 



21 

precision of the motion of the organs without cessation: 
of sound from one elementary position to another, by 
means of which the terminative sound of one element 
is imperceptibly glided into the succeeding one, whe- 
ther of distinct syllables or words. These graces of 
enunciation, and the precision and delicacy of manage- 
ment by which they are attained? are best exhibited 
orally. Such an exhibition demonstrates that our oral 
language is neither harsh nor monosyllabic in its struc- 
ture. These graces once acquired, we shall not hear 
the melodious versification of Shakespeare injured by 
the pronunciation of words as monosyllables, which 
lie pronounced as dissyllables ; nor will the rich, mag- 
nificent, and exquisitely collocated measure of Milton 
be separated into chaotic fragments from an ignorance 
of the true principles, by which its utterance should 
be regulated. 

Combination of Elements in Vocal Cadences. 

ELEMENTARY AXIOMS more fully illustrat- 
ed in the Lectures, and susceptible of & full explana- 
tion, only by oral demonstration. 

The larynx is a compound organ. It performs the 
function of an air tube and of a musical instrument. 
The first of these functions is essential to respiration, 
the second to speech. During the immediate emission 
of vocal sounds inspiration cannot take place, conse- 
quently, continued utterance must be divided into por- 
tions. By a beautiful law of relation, which presides 
over the compound function of the larynx, an undis- 
turbed respiration is rendered compatible with con- 
tinued speech. That law requires the division of the 
parts of continued speech into metrical cadences. It 
may be, and frequently is, violated, but when observed, 






22 

it adjusts the balance between the processes of respi- 
ration and continued speech with the utmost nicety, 
by subjecting the latter to musical time: this is true, 
whether the matter be recited, or spontaneous ; whe- 
ther it be prose, or poetry ; whether the delivery be 
stately, or of the most iiuent description. The effect 
of the division of speech into metrical cadences is sus- 
ceptible of oral demonstration, as are also the contrary 
defects. (Lectures. ) 

If the enunciated sounds of continued speech, to- 
gether with its respective rests and pauses, are sub- 
jected to musical time, the respiration will never be- 
come disturbed ; the physical power of the speaker 
will be exclusively employed upon the impressive ele- 
ments, and in giving effect to the other musical attri- 
butes of speech. In the proportion in which speech 
is not accurately divided by metrical cadences will 
the respiration become laborious, and the physical 
powers be so far ineffectually applied. 

The division of language, then, by musical time, 
is essential to easy, correct, and forcible- continued ut- 
terance. The lav/ of relation is carried still farther ? 
the grammatical sense of language will always be 
found correspondent with an accurate division of its 
parts into cadences. The recognition of such a di- 
vision, the adaptation of a musical notation by which 
it is demonstrated, and an adherence to that notation 
in actual delivery, however unrestrained and fluent, 
coastitujfce the peculiar and distinguishing advantages 
of the system of elocution, of which it is the object of 
pages to display the elements. 

To the comprehension of the foregoing remarks, it 
is essential that the nature of a cadence or metrical 
foot ;,e distinctly understood. What is a Cadence? 
A Cadence is a portion of tuneable sound, commenc- 



23 



ing heavy and ending light. It may be exhibited to 

the ear without accompanying syllables. (Le< 
pe succession of tea vy and, light in on. caflei 

dependent upon a law belonging to the primary organ 
of voice, the larynx, by which that organ is inr-vi 
subjected to alternate Pulsation and Remission. ( 
TUftEs.) The necessity of this alternate pulsation 
remission is shewn by uttering, in immedi 
Slon; without accompanying syllables, two of 
plest elementary sounds upon which a syllable can be 
engrafted. A ... 

■ It is to he particularly noted, that a cadence < 
sists of but two elementary portions; a heavy, ai 
light sound, distinguishable by the ear from ea 
What is the distinction between a cadence and a 
trical foot? 

A perfect metrical foot consists of one syllable, or 
any number of syllables, not exceeding five, occupy 
the duration of a cadence. The word Tem-per \vill 

A .-. 
exhibit a perfect metrical foot, consisting of two sylla- 
bles. These two syllables occupy the duration of a 
radence. The note falling on the Tern is esse* 
tially different from that falling on the per. The 
first is the heavy, the second the light part of the ca- 
dence. The word temperance exhibits a metrical foot 
A .-. ... 

of three syllables; the heavy sound of the cadence 
falling on the first syllable, and the light falling upon 
and being subdivided by, tlie las! two syllables. 80 
also of any foot not exceeding live syllables. The 
term poise embraces the phenomena included in the 
utterance of the heavy and light. We speak of the 
heavy poise as applicable to iiiQ first syllable of both 
words which have been employed: and of the light 



24 

poise as applicable to the second syllable of the word 
temper, and to the second and third syllables of the 
word temperance. The heavy poise constituted the 
Thesis, the light poise, the Arsis of the Greek gram- 
marians. We appropriate the sign A as the technical 
indication of the heavy, .-.as that of the light poise. 
An imperfect metrical foot consists of a syllable or syl- 
lables occupied by only the heavy or light part of a 
cadence. A Bar being a technical invention, separa- 
ting cadence from cadence to the eye, may be occupied 
by an imperfect foot, and the time of such bar is com- 
pleted by a corresponding rest, as in the following line. 



Twas at the 

A .-. • 



royal 



A 



feast 1 | 1 for I Persia 



won 1 

A • 



A ...I A .-. I A .• 
Feast is an imperfect foot under heavy poise; for is 
another imperfect foot under light poise; the time of the 
cadential bars is completed by the rests of the voice. 

It is very important to notice, that by modern gram- 
marians poise has been confounded with accent. All 
syllables having the heavy poise have been denomina- 
ted accented, and those having the light poise the un-, 
accented syllables. By heavy poise, in this work, is 
meant that property of a syllable, which has acquired 
for it the term accented. By light poise, that property 
distinguishable by the ear from the other, which has 
acquired for a syllable the denomination of unaccented. 

Axioms. 

The heavy and light sound, (together constituting a 
cadence) can be uttered in immediate succession. Two 
heavy sounds cannot be uttered in immediate succes- 
sion, for the same reason that the hand, having closed 
by a contraction of the muscles, cannot be closed a- 
gain until by a relaxation of the same muscles, it has 



25 

been intermediately opened. Let us apply this phy- 
siological reasoning to the Larynx. The heavy part 
of a cadence depending upon its pulsation, if the light 
portion do not follow, the remission must take place 
silently, and the time of such remission measures the 
interval which in other cases is employed in the utter- 
ance of the light part of the cadence. This is demon- 
strated in the lectures. 

Application of these principles to syllables. Hea- 
vy and light sounds, in immediate succession, constitute 

the bases of such words as fancy, picture, lecture, tem- 

A .-. A .♦. A .-. A 

per, Linden. Light and heavy sounds in succession 

A .-. 

constitute the bases of such words as abhor, detest, 

.\ A .-. A 

avoid, protest. 

.-. A .-. A 

Heavy sounds in succession but divided by inter- 
vening pauses, which occupy the time of the light poise, 
in the foregoing words, constitute the bases of such 
syllables as Man , Boy , Beast , Bird , Fish , Tree , 
A .-. A .-. A .-. A .-. A .-. A .•. 

House , and of all substantive monosyllables : every 

A .*. 
substantive syllable, whether compounded or uncom- 
pounded with other syllables, being heavy, by the 
laws of all rational, established usage : so also are sub- 
stantive, or essential verbs, as bid , br e ak , storm , kill . 

A .\ A .*. A .-. A .-. 

The light sounds supply the bases for such syllables 

as the , of , to , and , or , he , she , it , and of all par- 
.\A.\A.\ A .\ A.-. A. -.A .-. A.-. A 

tides, prepositions, &c, except when they change their 
qualities under the influence of the emphasis of anti- 
thesis. 



26 

There are syllables of indeterminate poise, and there- 
fore, tractable to the alternations of heavy and light, 
according to tli3 syllables with which they are associa- 
ted, as, let let will will can can. 

A .-. A .-. A .-. 
which is the case with all auxiliaries, expletives, and 
monosyllables of comparative or intermediate impor- 
tance. 

" Let him go where'er he will , man shall still be 

A .'. A .'. A .'. A .-. k •*• k ••• 

man. 

& 

" Will man let virtue still go bare ? and shall all 

••• h ■•■ %;•>:> k ■■■ h ■■■ ts ■■■ 

justice be refused ? 

Though the latitudinary syllables, or syllables com- 
mon in their poise, are sufficiently numerous for all the 
purposes of convenience in composition, yet the poise 
is, generally speaking, the most fixed and indispensa- 
ble of all the properties of English syllables. 

Experiments on successions of syllables, determi- 
nate in their poise, and untractable to alternation, de- 
monstrate that the ear is offended by an attempt to 
change their quality — 

Man Man Man — Man , Man , Man . Horse foot — 
foot horse — Horse , foot ; or horse and foot, and foot 

b ••• b ••• k ••• t\ ••• h ■■■ b 

and horse. 

••• ts 

But in the word woman, where the sex becomes the 
potential syllable, and a few parallel instances, man 
becomes consequently, a light syllable. 

Example of a succession of syllables with custom 
ary poise — 



27 

4i Ye airy sprites who oft as fancy calls." 

.-. A.-. A .-. A .-. A .-. A 

The same succession of syllables with inverted poise. 

" Ye airy sprites who oft as fancy calls." 

A .-.A .-. A .-. A .-. A .-. 

Substantive monosyllables, or any succession of syl- 
lables, all determinate in their affection to the heavy 
poise, if properly pronounced, with or without inter- 
vening conjunctions, occupy precisely the same time in 
utterance. 

My hopes , fears , joys , pains , all centre in you" 

A ••• A .-. A .-. A .-. &>s A .-. .-. A 

"My hopes and fears and joys and pains all centre 

A .-. A .-. A .-. A a7? A ... 

in you" 
.-. A 

The light poise may be so interrupted as to form 
two, three, or even four syllables in rapid utterance, as 

Beautiful — beautifully — capable of af fording 



A 



A .-. .-. A ••..•..-. A.-. .♦. .-, 

So an apparatus might be provided that should in- 
terrupt the return of the pendulum, dividing its alter- 
nations into sensible fractions ; but the principal of al- 
ternation would not thereby be superseded or gain- 
said, any more than the necessary pulsation and re- 
mission of the'larjpix in these instances. 

These alternations have no necessary connection 
with long and short, in the Latin language. 

"Anna viruinque cano Trojse qui primus ab oris" 
A.-. .-.A .-. .-.A .-.A .-. A .-. .-.A.-. 

" ad quern turn Juno siipplex his vocibiis iisa est." 
A .-. A .-. A .-. A .'. A .♦. .-. k .-. 

Note. Hei'e is manifestly a violation of Cadence; for no man reads these lines as 
they are scanned. 



28 



Nor in the English — 



revelry beautiful colon 
A.-..-. A .-..-. A ••• 

" Immortal nature lifts her changeful form.'" 

.-. A ••• A .-• A .'. A ••• A 

"Ye airy sprites who oft as fancy calls." 
.-. A •'• A •*• A ••• A •*. A 

" Where in their bursting cells my embrlous rest." 
A .'. .*. A •*. A ••• A .-. A 

"The hawthorn trees blow in the dews of the 

A .'. .'. A .'. .'. A .'. .'. 



And wild-scattered cowsllpsbedeck the sweet dale. 
.-. A .-. .-. A .*. .*. A .'. •-. A 

Nor with acute and grave — 

" And Brutus 1 is an honorable man." (affirmative- 
.-. A .-. A.'. .-. A.'. .♦..-. A 

m 

"And sure 1 he is an honorable man? (interroga- 
te • •• A •-. .*. A .-..♦..•. A 

lively.) 

Nor with strong and weak, nor with loud and soft — 

" Suppose a man speaking to his mistress in the 
words my dear ! dear being in this place, put sub- 
stantively, is absolutely affected to the heavy poise ; 
therefore, those words must be noted to be pronounced 
thus, " my | dear." Suppose the conversation to have 

A 
begun in the ordinary degree of loudness, and at the 
instant he has pronounced 7?z?/, a person appears in 
«ight ; who ought not to hear the next syllable, the 









29 

speaker can instantly soften his voice, even to a whis- 
per, though still the word will carry its proper poise, 
and remain heavy." (It must do so, unless he pauses, 
from the physical principle already demonstrated.) 
" So that to write those two words as directory to an 

actor, they should he noted thus, rmy I J dear ! (\ forte, 

A 

J pianoj (Steele's Pros. Rat. 2 edit. p. 89.) 

The physical cause of this alternation of heavy and 
light, and its indispensable necessity, may be demon- 
strated not only by anatomy, but by the united senses 
of vision and of touch, on examining the action of the 
living throat, in the act of energetic speaking. 

This principle, and not the mere arrangement of 
long and short syllables, constitutes the natural basis 
of rhythmus in language ; but the perfection of that 
rhythmus must depend upon the nice adaptation of 
quantities, to fill out properly the physical alternation, 
and preserve a due proportion in the cadences and 
clauses. 

Principles of Metrical Proportion, and of Rhythmus. 

Definitions — A cadence is a portion of tuneable 
sound, for of organic aspiration, J beginning heavy 
and ending light. | A .-. | A foot is a portion of sylla- 
bic enunciation, occupying the interval of such ca- 
dence, | fancy | revelry | beautifully |. But part of such 
A.-. A.-. .-. A.-. .-..-. 

interval may pass in hiatus or pause : i. e. the action, 
or the reaction of the primary organ by which the ca- 
dence is formed, may be made silently ; in which case 
the cadence will be occupied by an imperfect foot. A 
bar is a mere technical invention in elocution, as in 
music, separating cadence from cadence to the eye. 
To perform its function faithfully, it ought, in general, 



30 

to be drawn through the middle of the letter that arti- 
culates the cadences ; since the change of cadential ac- 
tion from light to heavy, as well as from heavy to light, 
in all graceful utterance, generally takes place in the 
middle of the element — especially of the liquid : for 
the whole process of speech is by slides and inflec- 
tions, not by steps and perceptible intervals. 

A cadence may be either in common or in trifle time. 
We consider those verses in which the generality of 
the cadences contain a foot of two syllables, as speci- 
mens of common measure : 

Example : | " Nature's j changeful j form ;" | 

A .-. A .-. A .-. 

and those in which feet of three syllables preponderate, 
as specimens of triple measure. 

Example : " The I murmuring I streamlet winds 1 
I A .-. .-. I A .-. .-. I 

clear thro' the I vale." 



Denominations of Cadence. Those cadences are 
most perfect that are occupied by feet, either of two 
or of three syllables ; i. e. common or triple ca- 
dences ; and one or other of these must be so preva- 
lent, in every hitherto admitted species of English 
versification, as to give its primary denomination to 
the measure. Next to these is the emphatic cadence, 
or cadence occupied by an emphatic foot ; i. e. by a 
single protracted syllable, beginning heavy and end- 
ing light. The frequent use and disposition of this 
foot, and the apposite adjustment of the metrical ba- 
lance, by correspondent triple cadences, is one part of 
the mystery of Dryden, in the mechanism of some of 
his finest passages. 



31 



.'. 


Arms and the 1 man, 1 1 sing 

A .-. .-. J A .-.1 a.'. 


A... 


who 1 1 forced by 

A...| A .-. 


fate.!" 


£>. 1 


a 


1 Aus 

A .•'. 


picious 1 prince 

a ... 1 £"7^ 


r at I whose na 

A.,l A ... 


tivity.l" 
A......I 



These varieties are indispensable to blank verse; 
particularly at the beginning and the ends of the clauses. 
Milton uses them, as well as other varieties, sometimes 
with a stately, and sometimes with a lyrical effect, that 
is truly magical. 



" Hail 



A 
bovpi" 



holy 

A.-. 



light 1 

A .•. 



offspring of I heav'n first 



Or with rhetorical emphasis 



« Hail 


holy 


light 


- 1 


— — 
A ••• 


A ... 


A'- 


A...I 


born. 


5? 


A •'• 











- I offspring of (heaven 
A ... .-. I ^TT: 



first 



The third in degree, is the accelerated cadence; or 
foot of four syllables, the whole, or part of which, will 
necessarily be accelerated, or more than ordinarily 



short ; — 



| " Citizens of i London" || | " Sympathies of | Soul !"H 
I ci With | frolic j dance and j revelry and j song. 1 |f 
| " To j momentary \ consciousness ajwoke. lj|" 

Of these four kinds, Milton has composed the ex- 
quisite rythmus of the Paradise Lost ; using the last 
sparingly, but with admirable effect ; still preserving, 
by its preponderance, the common cadence as his stand- 



32 



ard measure; to which, in point of integral quantity, 
all the others must conform. 

" Rocks 1 | caves 1 | lakes "I | fens "| | bogs ~] | dens 

and j shades of [ death j 

"A I universe of I death ,f which . God by I curse 



(.£ 



fl Cre 



ated 



A .-. 



evil 

A-^ 



Tfor 



evil 



1 A 
only good; 



u Where | all \ life \ diesj - j death j lives jTand {nature 
(breeds [ 

H Perj verse, j all \ monstrous j-j all | prodigious j things; 

" Aibominable i f uni utterable i I" and I worse, 
I A .-..•..-. J ... I A .-.....-. I .-. ' 

"Than I fables I yet have I feign'd or I fear conlceivedj 

$ — I Gorgons and . Hydras ["] and Chilmeras i dire. " 



1st. edit. 
The following couplet is, I believe, perfectly unique- 



"That to the i height of tins great . argument 



A ... ... I A .-. | A .-. I A.-. 

I may as.sErt e iternal i Providence., 



A 



Ia 



A 



Milton uses also, very freely, an appogiatura, or 
a syllable more than is counted in the bar : those who 
would know how freely, must look into the original 
edition ; not to the corrections of modern editors. Dry- 
den does this also ; and some of the finest verses of 
Pope result from this violation of his own rules. These 
appogiaturse constitute an essential part of the expres- 
sive harmony of the best writers, and should never, 
either in typography or utterance, be superseded by 
the barbarous expedient of elision. In the following 
lines, the appogiatura is marked (for want of a better 
notation) by what is vulgarly called the short accent — 



33 

•' Girt amiable — a scene of pastoral joy/' 
44 Covering the beach, and blackening all the strand." 

Dryden. 
44 His genuine and less guilty wealth to explore. " 

Denham. 

44 The cock's shrill clarion, or the echoing horn." 

Gray, 

\ 44 Ungrateful offering to the immortal powers." — 

Pope. 

The foot of five syllables is a base foot ; used only 
in the cadences of familiar prose ; and even there, it 
results as much from the licensed carelessness of the 
speaker, as from any necessities in the language and 
arrangement. " If the | soul ~] be | happily dis j posed [\ 

ev'ry thing becomes I capable of af I fording enter ( 

A .-. .♦. .-. ' A .-. .-. .-. .-. ' A .-. .-. ... I 

tainment" j In graver composition, or a more serious 

mood, this very sentence would be thus delivered — 
44 If the soul j 1 be | happily dis j posed | - \ eve-ry j 
thing "I j f be j comes j capable j T of af j fording \ enter j 
tainment"| 

But verse admits of less latitude, (to the reader as 
well as to the writer ;) and even Shakespeare, in the 
utmost freedom of colloquial variety, never goes be- 
yond the cadence of four syllables. 



" He had a I fever 



when he was in 

A .-. .-. ... 



Spain!" 



English syllables differ, in quantity, in all the lati- 
tude of from eight to one. The integral feet, by which 
cadences are occupied, are capable of many technical 
discriminations : certainly of all that are enumerated 
in the Classical Gradus. Many of our syllables (like 



34 

those of every other language) are common, that is to 
say, are liable to be long, or short, according to cir- 
cumstances of emphasis, arrangement, and association. 
Tne absolute quantity of every syllable (as to the po- 
sitive time it shall occupy in utterance) is latitudinary, 
to a certain extent, (or we could not sometimes speak 
slower, and sometimes faster;) but not the relative 
quantity, with reference to the other syllables of the 
cadence. There is, therefore, no difficulty in giving 
to a trochee, or an iambus, the same entire quantity 
with a spondee ; or to a spondee, the same with a 
trochee, though differing in the proportions of their in- 
tegral parts. If, therefore, the standard or preponde- 
rating cadences be spondees, — as in Milton : 

" Of | man's first \ dlso j bedience, | [~ and the | 
fruit 

" Of | that for j bidden j tree, whose \ mortal taste j 



" Brought 




into the 
• A .-. .-. 



world, "I and 



all our 



woe 



^o 9J\ 



9 I 



the whole measure of the passage will be stately and 
solemn, and the trochaic and iambic feet must have, 
in delivery, (but without injury to their integral pro- 
portions) an increased quantity. If the trochee be the 
prevailing foot, the cadences of that passage must pre- 
serve the same briskness of measure ; and the spon- 
dees, though still maintaining their syllabic equality, 
must be pronounced comparatively short. This must, 
also, have been the case, in several of the Greek and 
Latin measures ; or they have otherwise no regular 
time, or proportion of cadence- 

As every long syllable is not equally long, and eve- 
ry short syllable is not equally short, some trochaic* 



35 

may be inherently as long as some spondees* Spon- 
dees may, also, be pure, (or of exact equality in their 
syllables,) as ' c \ Man's first \ diso | bedience;" \ or 
impure, (both long, but not equally long) as "| all ourj 
woe." The same is true of all languages : for sylla- 
bles are not meted out by a Winchester measure, ac- 
cording to an arbitrary standard of critical legislation ; 
but derive their quantities from the accidental associ- 
ation of their elemeuts, and other independent circum- 
stances. Some syllables, also, in our language, as in 
every other, are either comparatively long, or compa- 
ratively short, at discretion, or according to circum- 
stances of association and emphasis. This is particu- 
larly the case with the possessive pronouns, of which 
our, in the cadence quoted above from Milton, is an 
instance ; where it becomes long, from the protracted 
action of the voice, in passing from liquid to liquid in 
succession, and from the energy of voice to be collect- 
ed for the solemn close of the line upon the word woe. 
In such succession and composition as the following, 
'* our" would be short- 

All our | sighs and | all our j tears, | 

Are they | not a | folly? 
When the | preacher j care ap j pears, | 

Drink and \ make him jolly ! 

There is great difficulty in analyzing the minute 
quantities and proportions of syllables, from the ex- 
treme shortness of time occupied by each, in correctly 
measured pronunciation. In ordinary discourse, or 
reading, rather more than three syllables are pro- 
nounced in a second; that is to say, the average length 
of a syllable is about eighteen- thirds ; which is at the 
rate of two hundred syllables in a minute : without 



36 

allowing any thing for pauses. So that the actual 
average quantity of a syllable, cannot be admitted to 
be more than the fourth part of a second, or the two 
hundred and fortieth part of a minute. But if the 
longest of such syllables, in ordinary discourse, occu- 
pies but a second, (the sixtieth part of a minute ! ) 
and the shortest, but an eighth part of that time, that 
is, the four hundred and eightieth part of a minute, it 
is more astonishing that we should be able to take 
c=j£;nizance oj such syllables at all, than it is that we 
should require long habits of patient and severe ana- 
1\ sis to enable us, in any degree, to detect their com- 
parative proportions- It is in consequence of the dif- 
ficulty which such proportions present to us that the 
more obvious and intrusive qualities of heavy and 
light have been substituted, in general calculation, for 
Ibng and short ; and that poise has been confounded 
with quantity. 

Laws of Utterance. The first and most indis- 
pensable requisites of intelligible speech, are, the com- 
plete formation and clear articulation of the respective 
elements. But, accomplished elocution must depend, 
1st, upon measure, or the just proportion and articu- 
lation of cadences or feet. 2d, On melody, or the pro- 
per adjustment of accentual slides, and other musical 
qualities, to the successive elements and syllables. 3d, 
On euphony, or the happy coalescence of those elements 
and syllables, and the due distribution of quantities to 
ew>ry element by which the respective syllables and 
wards are composed, according to their tuneable quali- 
t or harmonic capabilities; and 4th, On expres- 
sion, or the due assignment and distribution of the 
kinds of en. with the proper intonations 

of pathos, emotion and sentiment. 



87 

The laws of utterance, as respects the preservation 
of cadence, are those that should first be understood. 
Many axioms of practical importance might be laid 
down for the regulation of the speaker, as well as the 
writer, in this respect. The most indispensable are 
the following : 

1. That in reaMing, reciting, or speaking any sen- 
tence, whether of verse or prose, the enunciation is not 
to proceed by thesis and pause alone. 

Be a good boy ; do not thumb your 
A- '-A.-. A .-. A .-. A. -.A.-, A .-. A.-, 
book ; 



but by regular alternations of heavy and light, except 
where there is an interruption by grammatical pause. 

2. That in reading, or reciting, whether verse or 
prose, the syllables (such only excepted as are lati- 
tudinary in their poise, or common in their affection 
either to thesis or arsis) be not rendered light or hea- 
vy, at discretion, from any notion of humoring the 
rhythmus, but be pronounced according to the fixed 
qualities of such syllables, in graceful- spontaneous ut- 
terance. 

3. That the syllables that, either by nature or cus- 
tom, are absolutely affected to thesis, or heavy, be pro- 
nounced during the pulsative effort of the larynx ; and 
the syllables which by nature or custom are deter- 
mined to arsis, or light, be pronounced during the re- 
mission, or reaction of that organ. In the observance 
of this rule consists the musical time of speech. 

4. That the latitudinary monosyllables be pronounc- 
ed either heavy or light, accordingly as the syllables 



38 



with which they are combined, and the consequent 
state of the organs may require. 

5. T na t the progress of the voice, in the formation 
of the cadences, whether in reading or speaking, be 
regularly and perceptibly from heavy to light, with 
whatever syllable the line, or the sentence may begin, 
and not from light to heavy. 



" Y( 



"On 



airy 

A .• 



sprites who 
A 



oft as I fancy 

A .-. A .-. 



calls." 
A 



this ac I count 1 
A .-. A .-. 



T says 

A .-. 



he to Lo 

A .-. .*. 



renzo 

A .-. 



r i 



highly es 



cannot suf 

A ... .-. 
teemed 
A •*• 



ficiently ad 

A .-. .-. .-. 
I friend T 



mire 1 

A .• 

Mari 

A .-. 



ano 

A.-, 



T your 

A ... 



For, it is most important we should observe, that, 
though the alternation is inevitable, the mode of mark- 
ing the cadence is elective : for cadences can be divid- 
ed to the ear, as well as to the eye, from light to hea- 
vy, without inversion of poise, or violation of quanti- 
ties. 



" Ye ai 1 ry sprites i who oft 

• A .-. a .-. A 



as fan I cy calls." t 
... A I .-. A 

I cani 
A* 



"On this I account I says he toLoren I zo , I 1< 
... A I .-. A I .-. A ... ... A I .-. A I 

not, &c. 



The difference in the progress from heavy to light, 
from that of from light to heavy, when orally demon- 
strated, will be obvious to every one. One is all im- 
pressive smoothness; the other all abruptness and, 
harshness. Many satisfactory reasons may be as- 



39 

signed for this remark. The natural progression of 
the organ of voice is pulsation and remission — not re- 
mission and pulsation. 

6. In all smootli and harmonious utterance, the time 
occupied by each cadence, in a given sentence, or pas- 
sage, is to be the same, whether the cadence contain 
one syllable or several ; but the momentum, in differ- 
ent passages, should vary, according to the sentiment 
and subject ; as it may also, occasionally, according 
to the taste or convenience of the speaker or reader. 

7. Pauses and Emphases increase the number, 
but must not alter the proportion of the Cadences. 




who 1 I oft as 



fancy 

A .-. 



Definitions of the Rhythmus of Verse and Prose* 

1. Rhythmus consists in an arrangement of ca- 
dences, or metrical feet, in clauses more or less dis- 
tinguishable by the ear, and of more or less obvious 
proportion, in their periods and responses. If a dis- 
course, or paragraph, were to be composed, or deli- 
vered, without such clausular divisions or responses, 
though it were ever so perfect in its metre, it would 
have no rhythmus. Rhythmus is to cadences and feet, 
what cadence is to elements and syllables. 

2. Verse is constituted of a regular succession of 
like cadences, or of a limited variety of cadences, di- 
vided by grammatical pauses, emphases, and csesuree, 
into obviously proportioned clauses ; so as to present 
sensible responses, at proportioned intervals, to the ear. 
The lines of well constructed verse, if the ear of the 
reader be properly educated, would require no assist- 



40 

ance from typographical arrangement ; and the ear of 
critical sensibility frequently detects a very different 
arrangement of actual lines, from that which the ty- 
pography represents to the eye. (See Collins' Ode to 
Evening — Southey's Curse of Kehama, &c.) A line 
may consist of one, two, or three clauses : but succes- 
sions of lines of single clauses, consitute a feeble and 
base kind of rhythmus, especially when terminated by 
rhymes. 

3. Prose differs from verse, not in the proportion, 
nor in the individual character of its cadences ; but 
in the indiscriminate variety of the feet that occupy 
those cadences, and the irregularity of its clausular 
divisions. It is composed of all sorts of cadences, ar- 
ranged without attention to obvious rule, and divided 
into clauses that have no obviously ascertainable pro- 
portion, and present no responses to the ear at any le- 
gitimate or determined intervals. Fragments of all 
kinds of verse may be introduced into prose, and can- 
not well be avoided ; but a line and a half, or three 
clauses of any one species of verse, cannot come in 
succession, without destroying the purity of its cha- 
racter. The following passage, in one of Walter 
Scott's Dissertations, in the " Minstrelsy of the Bor- 
der," was meant for prose. 



" The mi I nority of I James the 
... ... A ... .-. .-. I A 



fifth | 1 pre- 
£>. I A .-. 
and I f thro* 



sents a I melancholy I scene. I Scot 

A ... I A .-. .-• .-• I a~^. I A •*• I A •'• 

all its ex I tent, felt the I truth of the I adage I T that 

A .-. .-. I A .-. •-. I A .-. .-. I A ... I A .-. 

the I country is I wretched whose I prince is a 
I A ... •. I A .-. .-. I A •-. •-. 

child." 
A ••• 



41 

The first member of the sentence consists of a com- 
plicated clause of responding cadences, the most per- 
fect of all metrical divisions in common measure. Put 
the word green in the place of fifth, and the most vul- 
gar ear will immediately recognize the couplet. The 
next member, from the potential accent and suspensive 
pause upon the nominative, presents a complicated 
clause or couplet of the most perfect of all the rhyth- 
mical divisions of triple measure. 

" The mi | nority of I James the | fifth | 
" Pre | sents a j melancholy | scene." 

« Scotland— 

" Thro' | all its ex | tent, 1 | T felt the | truth of 

the | adage — 
u That the | country is I wretched I T whose 
I prince is a I child." I 




ESSAY 



The general neglect of the science of rhythmus, as 
explained, in a summary and elementary manner, in the 
foregoing pages, has been peculiarly hostile to the im- 
provement of our national elocution : and has conduced, 
if I am not mistaken, more than any other circum- 
stance, whatsoever, to that frequency of impediment 
which prevails amongst us. Have the principles upon 
winch the rhythmus of our language depends, been 
even ascertained by grammarians and professed in- 
structors ? I am compelled to think, speaking gene- 
rally, that they have not. Indeed, two writers, only, 
it appears to me, have formed correct notions of the 
nature and characteristics of a cadence, or English 
metrical foot. Those are Joshua Steele and the Rev. 
Mr. Odell. I have been, moreover, greatly indebted 
to the unpublished lectures of Professor Thelwall, for 
important lights on the subject of this preliminary es- 
say. Willi the exception of what I have learned from 
those three individuals, I have met with nothing on: 
the subject of the delivery of our language which has 
not appeared to me more or less defective in theory. 
The writings of the two former gentlemen, and the 
practical lectures of the latter, are eminently calculat- 
ed to add to its reputation as a vehicle of thought and 
feeling. 

The absolute dependence of rhythmus on the alter- 
nate recurrence of heavy and light, or as they have 
been erroneously termed, accented and unaccented syl- 



43 

tables, was well known to those great masters of the 
science and practice of delivery, the Ancient Greeks: 
and thp phenomena of cadence are described and de- 
fined by their Thesis and Arsis. They, however, 
were not acquainted with the causes of those pheno- 
mena. 

The true data of the science of delivery, must be 
sought in the physiological necessities resulting from 
the organization of vocal beings. Those necessities 
constitute the fundamental causes of the phenomena 
of Cadence. In what do those necessities consist? 
In the inevitable, 1. pulsation, and, % remission, of the 
primary organ of voice. The heavy poise depends on 
the pulsation — the light on the remission, of that organ. 
Hence the alternate succession of heavy and light syl- 
lables ; or the division of continued speech into ca- 
dences. Hence, also, the natural progression of the 
voice from heavy to light, instead of from light to hea- 
vy, in continued utterance. The perfect metrical ad- 
justment of cadences, however, including the rests and 
pauses, requires that the alternation of the primary 
organ of voice should be rigidly subjected to musical 
time. Such an adjustment is necessary to insure the 
apparently incompatible functions of progressive speeck 
and an undisturbed respiration. It is necessary, there- 
fore, to force and harmony of delivery. Lectures. 

An ignorance of the true causes of cadence, as 
they have been here briefly explained, have induced 
writers on rhythmus to ascribe to mere election and 
voluntary taste, what has its origin in the indis- 
pensable attributes of organic action. It was this ig- 
norance which prevented Mr. lioe from perceiving 
the necessity of the mensuration of pauses ; and which 
led him to deny, that the crotchet and quaver rests. 
constitute a r>art of i)m elocutionary as well as of the. 



44 

musical bar. He has, accordingly, amused the eye 
with cadences of a length which no human organs can 
tftter ; to say nothing of the confusion and deformity 
which his theory is calculated, in other respects, to 
introduce into the pronunciation of English verse. It 
is only by a consideration of the necessary pulsation, 
in the first place, and of the equally necessary alter- 
nate remission in the second, of the primary organ of 
voice, that we can ascertain what constitutes a ca- 
dence; or one simple measure; and where such simple 
measure begins. But the true nature of a cadence be- 
ing once understood, we cannot fail to apprehend the 
metrical proportion of our language : nor can we fail 
to perceive how it happens that persons who speak 
with harmony and facility, speak in metrical cadences. 
If our conception of a metrical foot be accurate, we 
shall be able to detect, moreover, the fallacy into 
which those have fallen, who have, hitherto, confound- 
ed poise with quantity : or, in other words, the arbi- 
trary adjustment of long and short syllables, in Latin 
scanning, with the inevitable recurrence of thesis 
and arsis. No person can read Latin intelligibly ^ 
if he reads as he has been taught to scan : but by 
means of a scoring, which accurately marks the peri- 
odical recurrence of thesis and arsis of heavy and light 
syllables, as dependent on the action and reaction of 
the organ of voice, not only may every individual read 
as he scans ; but, as the scoring will be found, inva- 
riably, to ascertain the grammatical sense, a deviation 
in actual delivery from the rule ascertained by that 
scoring will be found, in the precise degree of such de- 
viation, to involve the trifold sacrifice of the sense, the 
harmony, and the undisturbed tenor of the respiration. 
If we bear in mind the precise meaning of heavy and 
light poise, as distinguished from all other attributes 



45 

of speech, we shall find no difficulty in detecting the 
difference between the comment inent of a line, or of 
a passage, and the commencement of a foot: we shall 
perceive that the speaker or the poet, equally with the 
musician, may commence with an initial or imperfect 
bar ; and we shall be successful in our attempts to di- 
vide, into their primitive metrical parts, such passages 
as are so commenced. 

Nothing is at present more fully ascertained, than 
the mathematical proportion of the bars of music : the 
general agreement of integral bars, (in a given tune or 
passage, J amidst the boundless varieties of parts and 
fractions, of which those integers are composed. But 
let us suppose that one of the fine passages from Han- 
del or from Hayd'n were presented to us, with every 
part of its notation complete, except the division into 
bars, and that we were to proceed, (taking numbers 
instead of proportions as the basis of our metrical di- 
visions,) to write it into score, and were, unfortunately, 
to begin from an improper note ; what would, in that 
case, become of the proportion of the bars, as far as 
related to their impression upon the eye? and yet, 
how easy would it be to amuse a person ignorant of 
the science of sounds, with plausible declamation upon 
the want of time and measure in the music of Handel 
and Hayd'n! These observations strictly apply to 
those persons who have denied a measure to English 
speech, and who have refined, with great apparent 
profundity, on the rhythmus and structure of our lan- 
guage. No wonder it is, that, under such circum- 
stances, the six proportioned, but varied cadences, that 
constitute (in its simplest form) an English heroic line, 
should have been reduced, by false theory, into five 
dis proportioned and incongruous feet; that the mea- 
sure of harmonious prose should have been peremp- 

G 



46 

tori ly denied ; and that even the magnificent, the in- 
finitely diversified, but mathematically perfect measure 
of the immortal Milton, (who never deviates into a 
discord, or neglects a quantity, but when he has some 
emotion to represent, which would be, marred by the 
incongruity of harmonic smoothness) should have been 
theorised into chaotic disorder and dissonance, by se- 
cluded critics, who have never learned to scan his 
verse with their ears, nor to utter it with their oral organs. 

Eut the misfortune, as regards the practical ends of 
delivery is, that false theory has led to bad habits of 
utterance. It is as practicable (however opposed to 
nature and instinct) to present inverted cadences to the 
ear as to the eye. An example of this inversion is 
presented in the elementary part of this work. This 
error, the effects of which are orally demonstrated in 
the Lectures, constitutes an impropriety in utterance, 
which often ds, more frequently than any other, the ear 
of taste and sensibility, in the harsh and laboured elo- 
cution of artificial speakers. Its effects are percepti- 
ble to all hearers. The detection of its cause lies 
deep in the first principles of the science of speech. 

The Indication of a division, or mode of progress, 
from heavy to light, from the accented to the unaccent- 
ed syllables, instead of the reverse of this, is in the 
natural organic action of the speaker. Its result is 
force and harmony. This instinctive progress, from 
heavy to light, as distinguishable from that of from 
light to heavy, it is most essential to comprehend and 
feel. The metrical principle, manifested by the first 
of these movements, applies not only to human speech, 
but to the vocal efforts, however limited and imperfect, 
of all the tribes of voice.* We may announce, there- 

* Note. With the exception of the Duck, which has no alternation, hut mea- 
sures it- cadencies by heavy poise alone: and the Guinea Hyn? which marks its 
note from light to heavy. 



47 

fore, as the first principle and basis of all rhythmical 
theory and analysis, and of all instruction for the im- 
provement of human utterance and composition, 1. that 
a cadence is a portion of tuneable sound, beginning 
heavy and ending light: 2. that a perfect foot is a syl- 
lable, or any number of syllables, not exceeding five, 
occupying the duration of such cadence: (for we have 
single svllahles that are sometimes susceptible both of 
the heavy and light poise, and which, therefore, fill 
out a cadence by themselves:) 3. that the quantity 
of every perfect foot, (for a foot may be imperfect, as 
at the beginning of a clause, or after a caesura, or pro- 
tracted emphasis) must be measured from the com- 
mencement of the syllable in thesis or heavy poise ; that 
is to say, (however the line may begin) from the pre- 
cise element on which the change of the organic action 
is made perceptible to the ear from the light to the hea- 
vy poise i* that a bar, whether occupied by a perfect 
or imperfect foot, or by silence, is to correspond in time 
to every other bar, in a musical sense. I am aware 
that it is extremely difficult to render these axioms ful- 
ly comprehensible, without the aid of even patient and 
repeated oral demonstration ; or to put persons in pos- 
session of a practical rule of scoring, by which those 
axioms may be habitually applied, first, in the read- 
ing lesson, and afterwards, in spontaneous delivery. 
By means of such a scoring, however, they are sus- 
ceptible both of easy comprehension and application ; 
and by an attention to them, it will be found that the 
rhythmus of our language is one of rigid measure ; and 
that its utterance, conformably to such measure, is 
compatible with a forcible and harmonious delivery : 



* Note. That change is made manifest, however unconsciously, in all g ood 
speaking, hy a slight unintevrupilve rest, and a gentle inflection of" the tone of th« 
voice of the speaker. 



48 

that, above all, such a delivery will never be found to 
necessitate any disturbance to respiration. Lectures. 

The truth of the foregoing remarks may be easily 
demonstrated. The author could safely engage, to 
take any single period smoothly and harmoniously ut- 
tered in spontaneous speech, to repeat it in the tones 
of the speaker ; to beat time to it with complete regu- 
larity as he repeated it ; and then, to write it out into 
score, with all the divisions of its respective cadences ; 
and to demonstrate the quantities of every foot, and 
the measure of every pause, by which those cadences 
were occupied. Might he be permitted to add, that 
an adherence in spontaneous delivery, and in reading, 
to the scoring which would in such case be instituted, 
is the only secret by which he has been enabled to 
read and speak with emphasis many hours every day, 
without injury to lungs highly susceptible, and a con- 
stitution by no means vigorous. 

He ventures moreover to maintain, that where there 
is no measure, there can be neither smoothness nor 
harmony : for harmony in speech is the combined ef- 
fect of measure, melody and euphony. But where 
there is neither smoothness nor harmony, there is like 
to be perpetual hesitation and frequent impediment. 
Common as these blemishes are, there remain, how- 
ever, a sufficient number of good speakers of English, 
to demonstrate that stammering, cluttering, and hesi- 
tation, are rather the results of bad habits of delivery, 
than of necessities in the language. 

Let it be once admitted, that our language is a lan- 
guage susceptible of musical admeasurement, (and the 
examples by which these elements are illustrated are 
practical exhibitions of such admeasurement,) and the 
student may always be directed to read as he / scans 
and scores. The learner, while the system is yet new 



49 



to him, will necessarily be more deliberate and for- 
mal, than when a due comprehension of the metrical 
principle is attained, and the»habiis of delivery inci- 
dent to it are fully formed. He will have to ascend, 
in due gradation, from the mere abstract to the rhe- 
torical rhythmus : that is to say, from ihat skeleton 
rhythmus which recognizes only the mere inherent 
qualities of the elements and syllables arranged, to 
that vital and more authentic rhythmus, which results 
from the mingled considerations of sentiment, pause, 
and emphasis, and which assigns to each of these its 
just proportions of measured quantity. But the latter 
rhythmus differing from the former only in its perfec- 
tion and expressive beauty, is based on the same sim- 
ple and original principle of measure, founded on t!ie 
alternate, voluntary action and reaction of the glottis : 
and the pupil is not only to read his Milton and his 
Shakespeare as he would scan them, but is to speak 
as he would scan, whether addressing a senate, or un- 
bending in easy pleasantry at the tea-table. Conver- 
sational rhythmus is, indeed, very different in effect 
from the rhythmus of oratory ; but it is rhythmus still, 
and rhythmus dependent upon the metrical propor- 
tions of cadences a*jd feet. Its proportions are more 
difficult of detection than those of the more stately 
kind ; the proportions of all prose, more difficult than 
those of verse ; and the proportions of blank verse 
more difficult, because more diversified, than those of 
our heroic couplet ; but the grace of all utterance must 
nevertheless depend upon proportion. Therefore the 
Student, the Orator, or the Man of the world, who 
would improve, the first, the impressiveness of his in- 
struction; the second, the energy of his declamation; 
and the third, the grace and harmony of his conver- 
sation, will do wisely in cultivating his metrical per- 



50 

ception, as applicable to all spoken language. But 
he wlio would surmount an impediment of speech, na- 
tural or acquired, or emancipate himself from other 
troublesome and deforming defects of utterance, should 
cultivate that perception as his only redeeming princi- 
ple : he should, especially, aim at a practical precision 
and harmony of cadence, which might ensure their 
Full ellects to the noblest effusions of poetry and elo- 
qu?nr:e. 

It is important to remark, that the rhythmus of our 
language should, first, be studied through the medium 
of verse; because it is there that it appears in its sim- 
plest and most perfect state : and because the fixed 
ani r determinate arrangement of the syllables and ca- 
dences enable the teacher to lay down rules which 
assist in educating the ear : while in prose composition 
it is the ear and the perception alone that can guide 
the reader in ascertaining the cadence : it being the 
indispensable characteristic of prose, not only that it 
should be perpetually varying in the length of the 
Clauses and the recurrence of emphasis, but that it 
should proceed through all the practical varieties of 
cadence. In the midst of that variety, however, if 
smooth and flowing, it will be found susceptible of an 
accurate notation; and will preserve, subject to such 
notation, its metrical proportions. 

So obvious and indisputable are the propriety and ad- 
vantages of commencing the study of elocution through 
the medium of verse, that the author does not believe 
it possible to acquire the art of reading prose with ex- 
pressive harmony through the medium of prose alone : 
while, on the contrary, he has never, in a single in- 
stance, known an individual attain facility in reading 
our best poets, without being able to read prose, at the 
same time, with emphasis and harmony. 






51 

The order may be — 

1. The couplets of Pope — A few simple rules easi- 
ly point out and rivet upon the mind the mechanism 
of such verses. Those rules teach the ear of the stu- 
dent where to expect the recurrence of cadence ; while 
the preceptor is teaching him how to form and charac- 
terize the heavy and light poise; the percussive im ; 
pulses ; the protracted and accelerated quantities ; and 
the various inflections, and other tuneable qualities of, 
what is read or spoken. 

2. The more varied cadences of Dryden's poetry. 

3. The nervous and eccentric versification of 
Churchill. 

4. The poetry of Darwyn, more elaborate and arti- 
ficial in its mechanism. 

5. The blank verse of Akenside and Thompson. 
From these the pupil will emerge into the true 

" poetic liberty of our Milton and Shakespeare;" and 
thence descend through a series of prose writers. He 
will find ample variety in the semiversified periods 
of Gibbon — the insinuating smoothness of Hume — and 
the conversational playfulness of Goldsmith. 

In the student's progress, the passages which consti- 
tute his reading lessons should be scanned and scored, 
with the clausular divisions of pause and emphasis : 
the csesurae should be marked, where they do, and 
where they do not, increase t]m number of primitive 
cadences. The distinctions should be accurately de- 
fined and orally illustrated between a suspensive quan- 
tity, an interruptive pause, and an accentual close : 
distinctions, which, if properly attended to, might have 
precluded the perplexing contradiction which we meet 
with in the reports of the late Mr. Walker and Mr. 
Jephson : one of whom affirms that Mr. Garrick did, 
and the other, that he did not, mark the termination 



52 

of his lines by a perceptible pause. Might not both 
these gentlemen mean the same thins;? and did not 
this accomplished actor impress the ear with the rhyth- 
mus of his author, by a delicate management of sus- 
pensive quantity and inflection : and thus intimate the 
recurrence of his lines, without that palpable and of- 
fensive hiatus with which some readers and speakers 
lead the ear, contrary to the sense, to t perpetually re- 
curring closes ? Be this as it may, the distinction is 
of importance, and will be found applicable in its ef- 
fect to the clauses of prose, as w ell as to the lines of 
verse. 

If it should be suspected that the mode of instruc- 
tion, deduced from the elements accompanying this 
essay, might lead to an artificial and measured formali- 
ty, it may be answered, that such a mode is founded 
not on inventive art, but on practical analysis : that 
its direct object is to secure that identical effect which 
every graceful speaker, in his happiest moments of 
harmony and fluency, instinctively attains : that a strict 
analysis of the inspiring exertions of such moments, in 
a Chatham or a Henry, would elicit the very rules 
which are to secure a successful imitation. In these 
opinions I am sustained by high authority. 

"In all these cases, lam very sensible that the utili- 
ty of systematical rules has been called in question by 
philosophers of note ; and that many plausible argu- 
ments in support of their opinion, may be derived from 
the small number of individuals who have been regu- 
larly trained to eminence in the arts, in comparison of 
those who have been guided merely by untutored ge- 
nius, and the example of their predecessors. But, in 
all such instances, in which philosophical principles 
have failed in producing their intended effect, I will 
venture to assert that they have done so, either in con- 






53 

sequence of errors which were accidentally blended 
with thein ; or, in consequence of their possessing on- 
ly that slight and partial influence over the genius, 
which enabled them to derange its previously acquired 
habits ; without regulating its operations, upon a sys- 
tematical plan, with steadiness and efficacy. In all 
the arts of life, whether trilling or important, there is 
a certain degree of skill which may be attained by our 
untutored powers, aided by imitation ; and this skill, 
instead of being perfected by rules, may, by means 
of them, be diminished or destroyed, if these rules are 
partially and imperfectly apprehended ; or even if they 
are not so familiarized to the understanding, as to in- 
fluence its exertions uniformly and habitually. In the 
case of a musical performer, who has learned his art 
merely by the ear, the first effects of systematical in- 
struction a,re, I believe, always unfavorable. The ef- 
fect is the same of the rules of Elocution. But it 
does not follow from this, that, in either of these arts, 
rules are useless. It only follows, that, in order to 
unite ease and grace with correctness, and to preserve 
the felicities of original genius, amidst those restraints 
which may give them a useful direction, it is neces- 
sary that the acquisitions of education should, by long 
and early habits, be rendered, in some measure, a se- 
cond nature."— (Stewart's Elements of the philosophy 
of the Human Mind. — Introd. page 59, part II. § 2. 

To these judicious observations it may be added, 
that, it is by just rules alone, and their assiduous ap- 
plication, that erroneous and vicious habits of utter- 
ance can be eradicated ; and it is to them, especially, 
as deduced from an analysis of the phenomena of 
speech, in the primitive exercise of its organs, that we 
must look for the efficacious means of surmounting na- 
tural defects and impediments. Thus, the same prin- 

H 



54 

ciples to which we are indebted for the ultimate per- 
fection and polish of accomplished oratory, are those, 
by which, also, we are to detect and remove the pe- 
culiarities of the foreigner, communicate the gift of 
speech to the mute, and fluency to the convulsive stam- 
merer. The intimate connection between correct the- 
ory and successful practice, in the art of elocution, and 
in other arts also, is well expressed by a poet who 
used the lines for another object, but who, uncon- 
sciously, has made them applicable to our immediate 
purpose : 

" Truth and good are one, 
•• And beauty dwells in them, and they in her, 
" With like participation." 

JUcenside — Pleasures of Imagination. 

t 
These observations seem to apply, with especial 

force, to the management of those great Public Semi- 
naries, where the youth of the country are prepared 
for the practical exertions of the Ear, the Senate, and 
the Church. If there be a Science of Delivery — 
and independently of what we already have in our own 
language — the precious remains of the Greek rheto- 
ricians would prove there is, it is in our Colleges, es- 
pecially, that this science should be exemplified and 
thoroughly taught. 

For Composition, we have abundance of good trea- 
tises, and are not without excellent examples of writ- 
ten speeches. It is in the exterior manifestations of 
eloquence that we are defective : and, it is in the seats 
of learning only, that a series of principles and rules 
by which the national elocution may be improved, can 
be carried into practical application on an extensive 
plan. By early tuition, something of the power and 



55 

harmony of ancient delivery might he communicated 
to English speech, and in happy instances of extraor- 
dinary genius, that adventurous, hut practical and 
efficient oratory, might he again manifested, which 
•nee shook ihe world. 



EXAMPLES, 

POETIC AND PROSAIC, 



OF THE 



In which that measure is ascertained by the method of 
scoring explained in these Elements. 



GRAYS ELEGY 

IN A COUNTRY CHURCH YAHD. 

(Reprinted according to the Original Copy. J 



The <|urfew xoll^ ^he kifell of parting; day ! 
The jlowini herd " windf slowly o'er the |lea, j | 

The ploughman homewarq plods his yeary jvay, 
Andj leaves the world, " to cjlarkness and to me. 

Now fades the ilimmering landscape on the sight, ; 
And^all the ^irj " a solemri stillnesi holds J 
I Save where the beetle wheels his ^Ironing flight, / 
And drowsy tinkling^ lull the distant! folds ; / 1 1 



Save thai from] yondei; ivy mantled tower, 
The niopink owl! does to the moon complain, 

Of puch as wandering near her, secretjbower,| 
Molest her ancient solitary reign. 

Beneath those rugged elms that yew-trees ishade, 
Where heaves the turf in many a mouldering heap, 

Each in his narrow! celljfoij ever (laid^ 
The rude) forefathers of the Jkamletj sleep. 



57 



The lireezy ^all off incense-breath mi morn. 
The sfwallow |t\viUerii)j- from tl'ie sjtraw-builtj shed,| 

The jock's shriil clario{i or the. |*ch6iag jhorn,( 
No oiore shall| rouse theifi from theiij lowly (bed. ( I \ 

For^ themj " no i^ior^ the j)lazin£ hearth shaljl burn., 
Or llusy Ihousewify [)ly heij evening care;| 

No children run| to jisp thei^ sire's return, ( \ \ 
\Or\ climb his kneesj the \envy'd\ kiss to^hare\\\ 

Oft did the^iarveslS|" to theiif sickle yield ^ ( 
A .-. .-. A .-. A .-. .-. A .-. 
Their burrow ofij " the stubborn! gleb^e has l^roke ;| 

— ^Howjjocundidid they Iflrive theij team airfield I| 
How llow'd the jwoodsj be^eatlj thehj sturdy s[roke ! | 

Let not Ambition mock theiij useful] toil, | 
Theirl homely Jioyd " and ilestiny ollscure ;/ 

Nor prandeui* hear with a disdainful! smile,| 
The short anq simplje annalls of the jioor : \ \ \ 

The lioast o^ heraldryL the jiomp ofj powerj 
Ana all that beauty^ |ill thaij wealth* e'eij gave, | 
A\^ait atike^j the inevitable hour :j — 
) \The ^aths oi| glory^lead|but to the irave.j 



Noi| youl ye Proud]! impute to these the fault] 
If JVIemoryj o'er theii] tomlj no trophies taiseJ ] 

Where, thro' the Long-drawA aisle!" amllfrettejl vault, 
The iealini antheiji swells the Aote of praise.) \ \ 

Can) storiejl urn, " oif animate^ bust,| 
Back to its ^nansioif call the jleetea breath ?j~ 

[Can jHonorj's voici pro\|oke the ^ilentj dust,f 
Or JFlatterj( sootn, the [lull, |coldj ear of death ?| /' / 



58 



Pcrfyapsi in |his neglected jspot/ is £aid / 
Someiheart jonce riregnaiit with celestial jfere j / 

Handjs that the rud oij empire jinight have! sway'dj 
Or jwaked to 1pcstacy| " the livini lyre^ J | 

Bu^ knowledjge " to l|heirj eyesj " heij ampljj page,/ 
Rich with the (spoils oij Time], diclj ne'er unroll \ 

Chill Penury) " repressed theiij nobli rage ; | 
And] froze the jgeniaj curreilt of the ioul. | J / 

Full rjiany a iem of purest ray sejfene / 
The ^larli {m|athom'o| caves o£ ocean| bear \ 

Full T^iany a jloweij " is porn* to blush uujseen \ 
Andj waste its ^weetnessj on the jlesertj air.) j | 

Some village HampdenL that witlj dauntless preast, ) 
The little Jlyrant of his jfields| withstood j 

Some ijjmte inAloriousj Milton), here may |rest,/ 
Some fcrom well giiiltlesjs of hisicountry's ^lood./ j j 



The apiblause of listening s6nate£ to conlmand,4- 
Thej threats ox pain and] ruin| to despise,/ — j 

To ^catter/plent;^ o'er a sailing land J — 
AntlJ read their) history) in a ljationfs eyes, | 

Their /lot forbade I: — nor jfeircu inscribed, ajlonc^ 
Their iro wind virtuosi — but then/ crimes confined f 

Foijl)ade to (wade thro ? /slaughteJ to a throne J 
And] shut the iates oif mercy I on maijkind ;J 

The s^ruggliiik pangs oj conscious jtrnth to Ifidc fj 
To Vjiiench the pjlushei of idgeniiousjshame ;| 

Or|heap thejslirii^e of Luxury anq Pride] 
W\t\\ incensje kindljed at the JMuse'sj flame l\\\ 



59 

Yej, eveij these ^onc.<j fioral insviltj" to project; 
Home trail mentor ia]| still, eifecf ed^ nighi 

Witty uniouth }*hyme^ and] shapeless ^culplurtj 
deck'd, 
Implores the jbassinfc tribute of a &gh. j | ) 

Their ^laraesL theiif years, ^pelt by the un^etter'd 
MuseJ | 
The jtlace of fame an^l eleg^ supbly t 

(Aii(]| many a (holy Itextt' abound she strews— j- 
That (teach the] rustic tnoralisij" to tiie.j (' | 

For) wliOjj" to (lumb forietfulness a ]j)reyJ 
This bleasingi anxious; beingj e'er rekign'd,| 

Lett the Warm jprecinct^ of the theerfulj day,J 
— [Nor bast lone longing! — lingering look behind? j 1 \ 

On| some ibn(« breasi|" the bartingj soul rdlies i 
— iSome biousj drop^" the Alosingl eye reqjuires ;J 

— JEven from theltombL" the ^oice of] Nature ^ries,j 
Even in ouijashesL live their |vvontedJ fires. | | \ 

For [thee, who, jnindfulj of the uhhonour'jl dead,| 
Dost in these jlines^ thehj artless ]tale reflate^ 

By ^hance ancj lonely ^ontemlplatior led,! 
To ivande^ in the bloomy (walks o| fate ;( 

Harlj: ! If ow the £acre<^ calnj thati breathes alround, | 
Bid^ every |(ierce tumultuous (passion] cease ;( 

(In jstill, jsmallj accenijs whispering from the ground 
A irateful| earnest of c|ternal[ peace ! | I 

No jnore, with) Natuije and thylself at| strife, 
Giv(p anxious tares anjl endless! wishes toom^ 

But thro' thejcoo| seiuester'^ vale oi] life) 
Puijsue the ijoiselesi teno^ of thy ^oom. \ \ \ 



60 
SPEECH OF HENRY V. BEFORE 1MRFLEUR. 

Shakespeare. 

Onceinore unto the l^lreachj, clear JFriend^! jfmce ]nore;j-j 

Or /close the ivall upf with ou^ English klead.l | | 

Iij peaceL tlieije's nothinlg so becomes a tnan / 

As'^iodesjf stillues^ and hujnility;/ / 

But, when thelblast oif waij Jdows in ou^f ears,j 

Th< n| imitate the ^ction of the jtyger; | 

ten the iinew^! — jsummoii up the jjlood!j — 
Disiuise JEair jaaturel with tharci-favourjl rage:| | 
Then fend the jeyel a jterrible |aspect;| 
II et it jtry |hrough the portage of the iteadj 
Like the Wass ^annoii; let the |brow o'eijwhelm it.J 
As fearful!^ as doth a balledl rock \ 
O'erluuig andljuttyl his codlfoimdedl baseJ 
IS will' d with thej wild) and Ifvasiefulj ocean.; \ \ 

Now tet the ifeethj andfetretcn, the Aostrii wide i 
Eoldj hard the jbreatbL and |bendj up |every (spirit | 
To hisj full l ]heighlj! (On, (on, {you fioWe 1 English! | 
Whose ^jlood is ^et from (fathers oif war [jroof;| 
Fathers] — ithatjlikej so manyj Alexanders,) 
Have, in these harts! from Inorn ^tilJL even (fought ;| 
And feheath'd theiij swordi for lack of (argument./ / ( 
Dishonor not your jmothersjl pNow aljtest^ 
That jliose whom you jcall'd fathers/ did be&et you !/ 
Be fcopy |iowJto men of grosser ijlood,/ / 
And (teach themlhow tojwar! / / / 



Andjyou, fcood Veomen ! | 
Whose jimhs weri madej in England! shew usfliere J 
The jnettle of youij pasture!. Let us Iswear I 
That you are kvorth youi) breeding!: [which I jloubt not;/ 
For there is |ione of you! so inean and! base,/ 
That jhath not (noble lustre inyomj eyes, j ( ( 



61 

I i|;ee vou ijtantty like (greyhounds |in the (dips,/ '/ 
Straining upon the ^tart. / | 

The iame's afoot./ j 
Follow your ^piril/; and upon this charge, 
Or^God forfHarrj/! (England/ and |feaint George!!/ / 



BURKE'S APOSTROPHE 



TO 



THE QUEEN OF FRANCE. 

It is ^iow /sixteen or /seventeen/ years (since I jsaw 
the) Queen oijf France ,1 then the JDauphines^, at Ver^ 
saillesj; ^ind purely (never (lighted on this /orty which 
shejhardly £eenied to (touch/, a ^nore delightful / vision./ j 
I Isaw hei) just allove the hofizonL [decorating and| 
cheering the (elevated ipherej she [just bejgan to inove 
infe klitte rind like thejmornini star/; (full of (life,| and 
iplendoui/, andljoy!/ | ( 

Oh! (what a Revolution]! (and ^vhat a /heart /must 1/ 
have to /contemplat^, wit|iout eifiotiori, thati elevktion | 
and J that [fall! | | | 

Little | did I|dream| that jvhen shej added titles of ^e- 
nej*ation| to (those of enthusiastic), distant, I resdectful] 
lovd, that she should] ever be obliged to ^arry the £harp / 
antidotrf against disgrace] condealed in (that /bosom!/ / | 
Little did Ijdrean^that I should havej lived to /see £uch 
disasW^ fallen u^on her j in a Ration of iallanl/ men,/ / 
in a pation of ^nen of (honor I and of Jcavaliersj / / I 
| thought (ten jthousant^ sword^ must have leaped from 
their Iscabbardi to avenge feven a jlookl that) threatened! 
her with (insult. | \ I 



But the (age of |cliivalryj is done;: that of iophister*! 
economists and Aalculatorsl has succeeded!; Wl the 
i;lory of | Europe) is extinguished foil eveif. | ( Never] 
never (morel shall we bejhold (that ienerous (loyalty) to 
tank and iexl — that jlroud submission)! — (that jlignified 
obedience)! — that subordination of thej heartf. — which 
[kept ^liveJ even in (servitude illself, (the ^pirit^ of an ex- 
alted,' freedom)! 1 1 The hnboughtl grace ofjlifej! the £heap 
defence of Nations)! jthe ijurse of manly |entimeni{ and 
hdroic jbnterprizi is ionej! It is gone,— j-that/sensillility 
of principle)! [that (chastity oijfhonorf! |which|felt a itain/ 
like ajwoundj; jvvhich inspired iourage ivhilst it ^liti- 
gated fefocityl; (which ennobled) whaijever it touched!: I 
and]under jwhichfvice itself lost half itslevill by (losing I 
all its fcrossness. | \ \ 



THE END. 




& : s* 





Hollinger Corp. 
pH 8.5 



LIBRARY OF CONGRESS 



027 249 621 3 



Hollinger Corp. 
pH8.5 



